The World's End (Edgar Wright, 2013)

 A man of your legendary prowess drinking fucking rain! (spoiler notice)

And so ends Edgar Wright's, Simon Pegg's and Nick Frost's much-lauded 'Cornetto trilogy'. The World's End comes not entirely hot on the heels of the breakthrough success of 2004's Shaun of the Dead and the hilarious Hot Fuzz from 2007. Once again, the story centers around a pair of friends played by Pegg and Frost. I say a pair, not the pair, since the tales are unrelated and the characters different every time. The trilogy's hallmark isn't its stories, it's the way it smartly deconstructs modern genre cinema and its tropes; lovingly put together in films brimming with inside jokes, knowing foreshadowing and a real jolt of craft.

You Kill Me (John Dahl, 2007)

 From anonymous professional killer to anonymous alcoholic

You Kill Me is the sort of film that doesn’t even get a theatrical release in the Netherlands. It’s too small for it, and I don’t mean that in a pejorative way. Dutch cinemas are necessarily picky, and there’s a certain charm to the movie’s simple story.

The Fifth Element (Luc Besson, 1997)

Bruce Willis and Milla Jovovich are in their, wait for it, element

Whenever I'm not feeling well, due to a cold or influenza, I have the irresistible urge to watch science fiction. Wait, let me back up. When I was around twelve years old, I remember it fondly, I once stayed home with a fever. Lying on the sofa, I watched reruns of Star Trek: Voyager that were on at the time. The images of distant worlds and the romantic idea of traveling the galaxy on a space ship left an indelible mark on my impressionable, by sickness enfeebled mind.

The masks of cinema

Should they stay on or go off? (spoiler notice)

Like Chekhov’s gun, it seems a golden rule that whenever a mask shows up in a film, an unmasking must follow. Masks have a strange allure on us. They invariably hide something, be it a promise or a disappointment. In film, masks are used to hide identities, to build legends, to alter perceptions.